If I switch showrunners and I get to stay on the show, I approach it like it's their show, and I'm here to write their music for them.

When you change showrunners, it's like getting divorced and getting remarried.

What I love more than anything is Jerry Goldsmith's 80's music and Bernard Herrmann's genre music from the 50's and 60's.

With television you are producing hours and hours of music and for film it is a shorter experience for both the audience and for you as a composer.

If I were doing five cop shows, I'd probably start struggling to find an identity for each one and struggling to find inspirations.

I've always approached television from a little more cinematic perspective, if not a much more cinematic perspective because of the shows I have been fortunate enough to work on.

I'm not a good enough musician to like completely master something in a couple of days and turn it around.